Collections : [University of Michigan William L. Clements Library]

This "Missionary Journal" chronicles Congregational minister Timothy Mather Cooley's missionary trip to the New York counties of Oneida, Onondaga, and Chenango between June and October 1803. During his travels, he preached 108 sermons, visited 27 schools, baptized 53 people (of whom 50 were children), and helped establish a church in Verona, New York.

This "Missionary Journal" chronicles Congregational minister Timothy Mather Cooley's missionary trip to the New York counties of Oneida, Onondaga, and Chenango between June and October 1803. During his travels, he preached 108 sermons, visited 27 schools, baptized 53 people (of whom 50 were children), and helped establish a church in Verona, New York. He left his home on June 5, 1803, and headed for Northampton, where he received his formal commission from the Hampshire Missionary Society. From there, he went to Utica, and spent the next several months traveling around rural New York. Throughout his travels, he kept a log of his activities in various settlements, which often included delivering sermons, distributing literature, and talking to local residents; he frequently composed footnotes giving a general outline of each town. These notes usually recorded the year of the town's settlement, the number of families, churches, and schools, and the number of people who belonged to other Christian denominations, most frequently Baptists and Methodists. Though generally optimistic about his mission, he often commented that local residents were "poor, stupid, and ignorant" or, in one case, "stupid and vicious" (June 24). On July 9, he copied two drawings of coins resembling those Judas received for betraying Christ, and on July 23 described a visit to Baron von Steuben's gravesite. He also occasionally met with Native Americans, and described Oneida buildings (August 2) and a tour of an old burial ground (August 25). Often accompanied by the Reverend Peter Fish, he helped establish a church in Verona, New York, in August. He returned home on October 5. The back of the volume contains Cooley’s summary of his trip, a chart of distance traveled, sermons preached, schools visited, people baptized, donations received, and books distributed, and a note by C. Green, MD, a later owner of the journal, providing evidence for Cooley's authorship (December 1876).

• Map of Black River Settlements (June 24) (Housed in the Map Division)
• Map of Chenango County (August 14)
• Map of Onondaga County (October 5)

The Tobias Lear papers consist of correspondence and a journal related to Lear's career as the consul general at Algiers, to his contribution during the War of 1812 as a war department secretary, and as a negotiator of prisoner exchanges with the British. Of particular importance is Lear's contemporary account of the illness and death of George Washington.

The Tobias Lear papers (140 items) are comprised of 118 letters, one diary, and two engravings. The letters are almost all written by Lear, and relate primarily to his career as the United States Consul General to Tunis and Algiers, and to his contribution to the War of 1812, both as a prisoner negotiator with the British and as a war department secretary. He wrote the bulk of the letters (35) to his wife Frances Dandridge Henley Lear; these contain lengthy discussions of his personal and professional life. Of particular importance is Lear's contemporary account of the illness and death of George Washington.

The first six items relate to Lear's connection with George Washington, including a letter to Washington concerning generals St. Clair and Knox in Philadelphia, and payments for living expenses received by Lear from the United States Treasury. Of note is a record of Lear's eyewitness account of Washington’s death, which provides details on Washington suffering from “the croup,” the doctor's bleeding treatment, and Washington’s last words (between 10 and 11 p.m. on December 14, 1799). Also of note is a letter from Thomas Dobson of Philadelphia concerning the publication of a biography of Washington.

The collection contains one item from Lear's appointment as consul to Saint Domingue, in which he described an uprising against Toussaint L'Ouverture to Secretary of State James Madison (October 27, 1801).

Thirty-nine items relate to Lear's activities as consul general to the Barbary States, including many lengthy letters to his wife describing the negotiations for ransom and Mediterranean trade rights. Lear's negotiations with the Bashaw of Tripoli resulted in the release of some 300 Americans imprisoned as a result of the capture of the frigate Philadelphia. The items dated 1807 give an account of Lear's successful negotiations with the Bey of Tunis.

• July 14, 1803: Copies of letters from James Madison to James Leander Cathcart and Richard O'Brien dealing with affairs between the United States and Barbary potentates: the Bey of Tunis, the Dey of Algiers, and the Pasha of Tripoli
• July 16, 1803 and June 9, 1804: Contemporary copies of letters from Thomas Jefferson to the Dey of Algiers, appointing Lear as consul general
• January 1-17, 1804: A 36-page journal describing the negotiation process in Algiers as well as Algerian food, culture, and customs
• May 1, 1804: "Directions for the Captains of merchant vessels; or vessels bringing the Annuities from the United States to Algiers"
• June 1804: President Thomas Jefferson to Mustapha Pacha, Dey of the City and Regency of Algiers
• August 4, 1804: Orders from Edward Preble concerning Commodore Stephen Decatur and William Bainbridge
• [1804]: Instructions for American ships of war to follow when approaching Algiers
• June 4, 1805: Copy of the "Treaty of Peace and Amity" between the United States and the Pasha of Tripoli
• December 31, 1805-June 28, 1806: Letters among Jefferson, Madison, and Sidi Suliman Melli Melli concerning relations with Tripoli
• May 30 and September 7, 1807: Letter from James Madison to Tobias Lear concerning the settlement with Algiers, the Chesapeake Affair, and poor relations with Britain
• August 8, 1812: Letter from Lear to Charles D. Coxe concerning the state of the Mediterranean and being expelled from Algiers

Twenty-seven items relate to the events surrounding Lear's mission to Plattsburg, New York, for a prisoner exchange with the British during the War of 1812. The exchange was largely negotiated between United States Brigadier General William Winder, George Prevost, and British Colonel Edward Baynes, with Lear present to ratify the agreement. United States Army officer Christopher Van Deventer (1788-1838) was among the hostages released. Present are letters from Commissary General of Prisoners General John Mason, Secretary of State James Monroe, and British Commissioner Thomas Barclay, concerning the prisoner negotiations. Included are lists of the American officers and militia men captured at Detroit, a list of the British soldiers held by the United States, and a memorandum of Lear's expenses incurred during the mission. Also of interest is the letter from Lear to his wife describing a trip by steamboat to Albany (July 4, 1814).

Correspondence written in 1815 and 1816 includes 19 letters dealing with settlement of War of 1812 officers' accounts, most to Robert Brent of the War Department, and letters to his wife relating information on his life in Washington and about news of family and friends. The sole letter written after Lear's death concerns his son Benjamin Lincoln Lear's portion of his father's estate (March 21, 1817).

In addition to the letters and journal are two engravings accompanying the letter from August 4, 1804. One shows both sides of the "Preble Medal" (1804), and the other is a portrait of United States Navy officer Edward Preble (1761-1807), engraved by T. Kelly (undated).

The Toll-Mitchell-Clark family photograph album includes photographs of residences belonging to the Toll, Mitchell, and Clark families in upstate New York and Los Angeles, California, as well as studio portraits of various family members. The album also contains deeds, financial records, and other manuscripts related to the Toll, Mitchell, and Clark families.

This collection is comprised of a photograph album and three groups of manuscripts related to the Toll, Mitchell, and Clark families of upstate New York and Los Angeles, California.

The photograph album (27cm x 32cm) contains 30 photographs: cabinet cards, card photographs, and photo postcards laid into the volume. The first several images are exterior views of Toll and Mitchell family homes in Baldwinsville and Memphis, New York, sometimes with family members present. Other images show the Baldwinsville cemetery, the interior of A[sabel] K. Clark's music store, and interiors of the Clark family home in Los Angeles, California. The remaining items are mounted studio portraits of Toll and Mitchell family members; photographs of Truman Mitchell, Sarah Hyde Toll, Sophia Hinman Mitchell, and Abel Hyde and Sarah Mitchell Toll with manuscript wills mounted on the back, dated as early as 1856 and as late as 1893. Two images are duplicated: a portrait of Abel Hyde and Sarah Mitchell Toll (2 copies) and a photographic postcard featuring an unidentified residence (7 copies). The album's purple cloth cover originally had the title "Photographs" stamped front and back; the text is now faded.

The remaining items are approximately 34 manuscripts related to the Toll, Mitchell, and Clark families, including deeds, bank checks, financial records, wills, and correspondence. The deeds relate to land in upstate New York, and a few items pertain to estate administration. Personal letters from Laura F. Clark of Los Angeles, California, to her father are also present, as is a marriage certificate for Mariah Mitchell [sic] and Oliver Glass.

This photograph album contains pictures taken during trips to Arizona, California, Colorado, Minnesota, and Michigan around the turn of the 20th century. Subjects include Native American homes, dress, and customs; western scenery; and Midwestern waterfronts and steamships.

The Tourist photograph album (15 x 21 cm) contains approximately 245 pictures from around the Southwest and Midwest United States taken by an unknown photographer around the turn of the 20th century. Southwest photographs include mission churches in California and New Mexico, rock formations, cliff dwellings at Canyon de Chelly and Mesa Verde, Balanced Rock in the Garden of the Gods, and a pueblo. Several photographs feature Native Americans, including: women with traditional squash blossom hair styles; a man carrying a small child in a sling on his back; a woman in a shop with baskets, wool and dry goods; a woman seated in front of a loom with partially finished cloth; a man sitting in a white-washed interior with skeins of wool, holding a spindle with a hand carder at his feet. One photograph shows mummified human remains posed next to a bottle of whiskey and skull, indicating likely tomb desecration. Also included are unidentified Southwestern streets, beach scenes, and the storefront of J.M. Archuleta in Colorado. Midwest photos include images of the Palace of Fine Arts (Museum of Science and Industry) in Chicago, Mackinac Island, the Marquette Monument in St. Ignace, Soo Locks, and the Great Lakes steamer North Land, and a lake and cottage. The Grand Hotel on Mackinac Island and the SS Chief Wawatam are also pictured. Many photographs are significantly faded. Some manuscript captions are included.

The album includes two cyanotypes and a postcard with a cartoon satirizing the Brigham Young's polygamy.

The album has a half bound pebbled leather cover and is stored in a three-part wrap with brown cloth spine.

Correspondence and documents relating to the Tower family of upstate New York, primarily relating to business and family affairs.

Most of the letters in this collection pertains to business operations, including incoming and outgoing letters correspondence with bill collectors, shippers, customers, and others. Correspondents frequently commented on the operation of the business and the financial and political climate.

Family correspondence is concentrated in the period between 1821-1848, during which time the Tower children were away at school or college. The collection also includes several account books.

The Tower family papers have multiple important, unprocessed additions, including Civil War correspondence of Charlemagne Tower, of the Pennsylvania 6th Regiment, Company H (the "Tower Guards").

The Towle family correspondence is comprised of letters written by Electa Towle of Avon, Maine to her husband Daniel while he was mining in California, and later to her daughter Clarinda when Electa was living away from her.

Electa wrote most of the letters (105 out of 127), 34 of which she wrote between 1850 and 1853, and 71 between 1874 and 1895. Other members of the family wrote the rest of the letters -- her son Daniel Higgins, his wife Amanda, his second wife Mary, her daughter Clarinda, and several of Electa's grandchildren. Many letters also contain entries by Electa and her children or grandchildren.

The collection can be divided into two parts chronologically and thematically. Those which date from July 24, 1850, to February 13, 1853, were written by Electa from Avon, Maine, to Daniel in California. The letters that date from August 11, 1872 to July 21, 1895 were written primarily by Electa to Clarinda, while the former lived in Red Wing, Minnesota, with her son Daniel and his family, and the latter in Strong, Maine. The two sets of letters illustrate two distinct phases in Electa's life. From 1850 to 1853, she had a very active role as the sole manager of both her household and the farm. She was also the Postmistress for Avon, a position Daniel had held before leaving for California. Their financial situation was her main concern, but she also wrote her husband about the management of the farm, and about their children's health and activities. Concerned about their many debts, she frequently requested money, giving details of her purchases and the sale of livestock and agricultural products from their farm: "I can get along if they do not call upon me for debts...how I wish you could send me a $1000 to pay all we are a owing" (January 1, 1851). Fortunately Electa was able to procure an income for herself, as she did not receive money from Daniel on a regular basis.

The letters from 1874 to 1895 reveal a more passive side of Electa, as her responsibilities were few, especially as she got older and more fragile. Nevertheless, she managed to provide Clarinda with detailed updates on Daniel's farming business and the activities of the family and neighbors. She took great care to describe her new home and the town of Red Wing, as well as her disapproval for her son and daughter-in-law's lax and indulgent parenting style. To a lesser degree, she also described her own activities, which mainly entailed looking after her grandchildren, sewing, and making dresses. Indeed, sewing, knitting, and dressmaking were activities that consumed much of the time of many women in the family. Several letters to Clarinda were accompanied by fabric samples of the material that they had used to make dresses. Electa also mentioned a considerable number of young female relatives and friends who had learned the dressmaking trade and found jobs in shops.

The collection includes Daniel Towle's partially printed registered letterbook that he kept from December 31, 1855 to February 29, 1874, while serving as Postmaster in Avon, Maine. It documents registered mail leaving the Avon post office, noting the date and the address on the letter.

The Townsend Young daybook contains financial accounts for Young's business as a clothier in Sing Sing, New York. His clients were predominantly individuals, who paid cash for many types of clothing, cloth, tailor work, and sewing tools. He also rented Singer sewing machines. Each entry includes the customer name, goods purchased or rented, costs, and reference numbers. While Townsend Young held a work contract with Sing Sing's female prison during at least part of this period, no products in this daybook are specifically identified as the result of contract system labor.

The Townsend Young daybook contains 800 pages of financial accounts for Young's business as a clothier in Sing Sing, New York, between 1876 and 1877. His clients were predominantly individuals who paid cash for many types of clothing, tailor work, cloth, and sewing tools. He also rented Singer sewing machines. Each entry includes the customer name, goods purchased or rented, costs, and reference numbers. While Townsend Young held a work contract with Sing Sing's female prison during at least part of this time period, no products in this daybook are specifically identified as the result of contract system labor.

Townsend Young's store also provided tailor services such as sewing, cleaning, pressing, repairing, making buttonholes, and other work. The list of products sold by Young is lengthy. A selection of the goods referenced in the daybook include vests, suspenders, buttons, suits, hats, caps, silk hats, pants, drawers, cravats, studs, spools, silk, socks, needles, linen, "brick", collars, coats, handkerchiefs, shirts, scarves, coachman gloves, kid gloves, castor gloves, bows, umbrellas, elastics, overcoats, canes, muslin, satin, "livingston collars", "geyser water", night shirts, cashmere, cotton coats, bending (cloth), foweling (cloth), balls of cord, wiggan, cotton goods, "grey Cadet cloth" (September 12, 1876, p. 265), velvet, ties, "Campaign Uniforms"/"Campaign Suits" (A. L. Young, October 12, 1876, p. 315; B. C. Insler, Abraham Hyatt, and Dr. Woodcock, November 4, 1876, p. 360), "Suits of Clothing" (George R. Young, Agent and Warden of Sing Sing Prison, October 19 and 26, 1876, pp. 327 and 338), epaulettes (Sharp Terrell's coat, October 21, 1876, p. 331). sheet wadding, canvas, pocketing, twist, thread, slaven jackets, fanning, "Wolf Robes" (Mrs. Dr. Mead, January 10, 1877, p. 487), buffalo robes, and more.

The Tracy family papers consist of letters written by members of a large family from Norwich, Connecticut while living away from home, including two letters from a missionary in India.

This collection is somewhat of a hodgepodge; a few curious lives come to light, but there are not enough letters to entirely flesh out the various writers, or connect the lives of what must have been a large, tight-knit family group. There are 4 letters written by Charles, shortly before his death, 6 letters from William, while he was in Philadelphia, 2 excellent letters from his wife Emily, written from India, 5 written by George, who went down to Mobile, 5 other family letters, 4 letters written by friends, including a female schoolteacher, and 8 letters written much later to Louise and Antoinette Tracy, who were trying to gather genealogical material.

The two most fascinating letters are from Emily, who described the Indians and their ways, as well as the missionary work that brought the Tracys to Southern India. Predictably, she was rather negative about the people she was there to convert. The combination of what she viewed as laziness and lying left her with little respect for the Indians. "I know of nothing in America, which is so universal, as falsehood is among this people, they have a proverb, 'that where the mouth opens a lie comes out,' and this seems to be litterally the case," she fulminated (1838 November 16).

After overpaying a couple times, she pronounced that "their great aim is to get all the money they can, and do as little as possible in return." To Emily, itinerant beggars were the embodiment of this aim, so distasteful to her Protestant work ethic: "You would be surprised to know what a quantity of persons there are in this country, whose business it is to go from village to village begging . . . some time ago one of these beggars came to me, and I said I cannot give you anything, you are a strong stout man, if you will do this work, I will pay you for it but I cannot encourage any body in idleness, who is able to work as you are, said he, 'it is not my custom to work, I am a beggar,' well then, said I, you can go, it is not my custom to support people who can work, but who are too lazy to do so."

Rats and mosquitoes disrupted their sleep, but an even greater trial of missionary life was the difficulty of remaining connected to the loved ones back in America. Writing to the Tracys, Emily asked if they knew why she had not heard from her own parents. After writing thirty letters and receiving no response, she had stopped writing, but not worrying (1839 February 13).

Emily's main preoccupation, however, remained the Tamil people, and she lamented, "Oh how easily are this people led captive by Satan at his will." Witnessing people unselfconsciously bathing in public, and married women performing a fertility ceremony "in the presence of multitudes of people without the least thought that their was any indelicacy in it" seemed to intensify her desire to "guide them to the Lamb of God, who taketh away the sins of the world."

While she was talking to some "deluded pagans" after they had completed their ceremonies, Emily was asked, "Where did you, a woman, get so much wisdom'"? She was struck that "this people seem not to get the idea, that a woman could know how to do anything else beside cook rice, carry burdens, and gather cow dung for fuel." Emily thought some of the women she spoke to were bright, and "looked as though they might have made smart intelligent women had they been properly educated, whereas now they seem scarcely to have a thought above their food and dress. O when will the time come when the blindness be taken from their eyes"?

Norwich was the home base of the Tracy family, and several of the daughters seem to have never left it, or each other. They probably all worked to earn their keep. William wrote to his sister Mary Ann, "I am glad to hear you have steady work some where or other as father will not have to work so hard as he did before you knew the trade" (1821 June 24). The sons, on the other hand, moved to other places to make a living, either because they wanted to see the world, or there was no future for them in Norwich. This collection of letters written to the women back home documents the men's struggles to get accustomed to being apart from those they were supposed to support, and be supported by. A New Year's greeting filled with religious exhortations is the only "out going" letter from Norwich, written by Susan to her brother Charles (1815 December 31). This intimates that the sisters provided their wandering brothers with religious and moral guidance, as well as keeping them apprised of local news.

Maintaining long-distance familial support was a challenge. Writing after Charles' death, David eloquently reassured his mother, "I feel the only legacy he has left writ deeply on my heart, to comfort and be all to you which we both might have been" (1818 May 1). He was relieved that his mother had visited Charles just before he died, and noted that he had "some of the dear boys hair which I mean to have set in something for my sisters." William told his sister Elizabeth why it was better that they did not live together: "I should like to see you, and be with you, but if we were always together, we should lose much of that pleasure which we feel at meeting after a long seperation, and when duty calls us apart we should yield to her voice with contentment" (1825 June 13). At the same time, he asked her to write to him more frequently, even if he had not responded, for "there are many of you, while I am alone," indicating his need for frequent contact with his family.

George had less time to spend thinking about the folks back home: "I have not been able to think of much except cotton -- it has been cotton from before day break, untill late in the evening. Some times it is eleven o'clock before I can leave the office. I have some times thought that there was more cotton in my head than there was in all the cotton factories in New England" (1831 May 29). Although he was unsure if he wanted to stay in Mobile and keep working in the cotton trade, he was still there a few years later -- but still talking of moving on: "My future exertions in business may be differently directed, but as I am not yet determined that it will, or if it is, in what way, I do not speak of it" (1834 March 10).

Lucinda, a properly educated female native of Norwich, did leave her home in order to make her living. Unlike the men, who stressed the flexibility of their business plans -- George in particular -- Lucinda felt trapped in her position. She wrote to Sarah, "I thought if I should leave my school it would be uncertain when or where I could collect one again. This is the way in which I expect to gain my support & it is best for me to keep with my business. Don't you think so?" (1832 April 14). She rhapsodized about the haunts of her childhood home in a rather morose fashion, and blamed her melancholy on being spurned by a friend, whose desertion had left her quite alone with her pupils.

The Traveling circus photograph album contains approximately 70 photographs plus 6 additional loose images related to traveling performers.

The Traveling circus photograph album contains approximately 70 photographs plus 6 additional loose images related to traveling performers. The album (14.5 x 21 cm) has black paper covers, and some photographs include handwritten captions. Images include group portraits of a dancing group called "Philip's Girls"; performers in costume for a performance of Uncle Tom's Cabin by Mason Bros.; the Mason Bros. band outside of a circus tent; the interior of a tent with folding chairs; a makeshift stage set up in a grocer's storefront; members of "Baylors Comedians"; the exterior of the Waverly Hippodrome labeled, "Empire Players, Lansing Park Theatre, 1917"; and people relaxing at the beach posing with swimwear and automobiles. One loose image (mount 21 x 26 cm) shows a group of six performers in costume including a clown, a devil, a cowboy, and a man in blackface standing in front of a horse-drawn wagon.

The Traveling photographers collection contains approximately 245 examples of photographs produced by various traveling photographers that operated in the United States primarily during the latter half of the 19th-century.

Works by approximately 145 different traveling photographers are present in this collection and include cartes de visite, cabinet cards, stereographs, tintypes, and a small number of larger format images. For many of these photographers there is only a single example of their work included in the collection. Locations of operation include a wide range of regions across the United States, with eastern states such as Pennsylvania being particularly well-represented. Most of these photographs are typical individual and group portraits of men, women, and children.

The collection has been divided into two volumes. Volume 1 contains cartes de visite and tintypes while Volume 2 contains cabinet cards, stereographs, and a few other images with larger mounts of varying sizes. Volume 1 also includes two clippings and one photocopied page from an article about traveling photographers written by Eaton S. Lothrop, Jr., for Popular Photography magazine as part of his "Time Exposure" column series.

• “Wm. Johnson” - taken by N. L. Stone (Vol 1)
• “F. W. Huling” - taken by C. S. Roshon’s Mammoth Union Photograph Car (Vol 1)
• “Jimmie McCool Taken in 1889” - taken by S. R. Miller’s Photograph Car (Vol 1)
• “J. B. [or J. R.?] Enders” - taken by A. J. Miller, Keystone Traveling Gallery (Vol 1)
• “Uncle John Grimes” - taken by H. F. Knoderer & Bro (Vol 1)
• “J. P. Seip & Bro” - taken by Josiah Knecht (Vol 1)
• “Angalina Seip” [Angelina Seip] - taken by Josiah Knecht (Vol 1)
• “Julie Hamlin” - taken by Huested Bros. (Vol 1)
• “Timo Moyer?” - taken by Geo. V. Knecht (Vol 1)
• “Sam Rhenis Martin” and “Probably Sam Rhenis Martin’s Wife” - taken by Callahan’s Traveling Gallery (Vol 1)
• “Mrs. R H Blodget 236 35th St. Denver Col. Formily Mary Neil” - taken by King & Co.’s Traveling Gallery (Vol 1)
• “[?] Adaline Temple” - taken by F. J. Aiken (Vol 1)
• “Presented to Mr. & Mrs. Silas Boyer” - taken by B. Breslow’s Empire Movable Photograph Gallery
• “C. H. Holmes May 2nd 1881” - taken by J. B. Silvis (Vol 1)
• “Lou House - Graham’s Baby” - taken by the Erik Borklund Photo Car (Vol 2)
• “Olive Woodward” - taken by A. Couturier (Vol 2)
• “Geo. H. Dunham” and “Fredd Harry Dunham” - taken by Currier & Parkinson (includes stamp depicting Landing of Columbus on verso) (Vol 2)
• “Will Duning of Dresden” - taken by F. M. Foster (Vol 2)
• “Pansy Lovewell” - taken by the Hutchings Rail-Road Photo-Car (Vol 2)
• “Jabez Willes brother of Julia Willes Thrall” - taken by F. L. Hale (Vol 2)
• “Charlie, Mary, & Bruce Blaney Claysville Washington Co Pa.” - taken by Gibson & Myres (Vol 2)
• “Mrs. James J. Connelly #10 McConnellsburg PA” - taken by S. R. Miller’s Photograph Car (it is unclear if this inscription is related to the couple depicted) (Vol 2)
• “Carrie and Mattie Ewan”- taken by the National Art Company’s Railroad Palace Photographic Studio (Vol 2)
• “George & Sarah Kistler” - taken by Rollow’s Art Car (Vol 2)
• “Leo Martin” and "Jim Martin" - both taken by the Pacific Photograph Car, Rockford, Washington (Vol 2)
• “Arron Smith Children” - taken by the Pacific Photograph Car, Rockford, Washington (Vol 2)
• “Miss. Kittie M. Newell July 22nd 1889” - taken by Abel J. Whalen’s Accommodation Photo. Car (Vol 2)
• “Will Schnegg” - taken by H. C. Williams’ Floating Gallery (Vol 2)
• “Jonas Heim” - taken by B. L. Wilson’s Traveling Gallery (“Christina Waltz Williamsport Pa.” likely a relative of the subject and former owner of the photograph) (Vol 2)
• “April 1891 - Maggie Austin April 1891. A. M. Austin 43. E. G. ‘ ‘ 43 Mag ‘ ‘ 14 Edd ‘ ‘ 18 May ‘ ‘ 21.” - taken by W. H. Yant (Vol 2)
• “Howard J. Martin about 1893” - taken by Boston and Albany R.R. Photo Car (Vol 2)
• “Wash’s Daughter Pearl” - taken by F. M. Steele (Vol 2)
• “The Boy Preacher, Age 14: John E. De Merritt” - taken by Winslow and Shobe (Vol 2)
• “Maurice (Moe?) Boynton Alice Price } 2nd buggy” - taken by Carson Bros (Vol 2)
• “Mrs. J. C. Boxley” - taken by Newton & Sprague Photo Car (Vol 2)

Other items of interest include 14 tintypes including a group portrait taken at the Algonquin Bon Ton Tent by W. H. Pearce and a miniature tintype produced by Douglass’ Travelling Car (Vol 1); several photographs with revenue stamps; and 10 cartes de visite by C. G. Blatt, including three items containing humorous poetry in their backstamps (Vol 1); a stereograph view of "the old Block House at Annapolis Royal" by the Palace R.R. Photograph Car Co. (Vol 2); a stereograph view of Bridgewater, Vermont (Vol 2); a stereograph view of the "Steam Packet 'Minnesota' at Hastings [Minnesota] (Vol 2); a portrait of a pet pug taken by Will. H. McMillan, R. R. Palace Photo Car that bears an inscribed caption reading: “For my dear ‘Missis’ from her Devoted ‘Brownie’” (Vol 2); a group portrait of a man and women taken by Keil & Matula with an inscribed caption reading “Czechlovakia Couple Fayetteville, TX” (Vol 2); several portraits of children that appear to show hidden mothers in the background; two studio portraits of unidentified individuals produced by Civil War veteran turned photographer Capt. J. B. Shane (Vol 2); a number of photographs that appear to be copies of earlier images, including a portrait of a man produced by the Hutchings Railroad Photo Car bearing an inscribed caption reading: “Copied from original” (Vol 2); and a possible self portrait of photographer Abel J. Whalen on a mount stamped "Whalen's 'Accommodation' Photo. Car."

The following lists contain names of photographers represented in the collection as well as the total number of images included for each photographer:

• F. J. Aiken [2 images]
• Aldhizer & Eutsler [2 images]
• Atkinson’s Photographic Railroad Gallery [1 image]
• L. K. Bair [1 image]
• B. Billian [1 image]
• C. G. Blatt [10 images]
• A. F. Bonine [1 image]
• E. A. Bonine [2 images]
• J. K. Bottorf [1 image]
• Bowdish's Traveling Gallery [1 image]
• B. Breslow’s Empire Movable Photograph Gallery [2 images]
• Brown & Huard [1 image]
• Burchfield & Bottorf [1 image]
• J. Bushong [1 image]
• Callahan’s Travelling Gallery [3 images]
• H. P. Carnes [1 image]
• Coggeshall’s Excelsior Photographic Car (John Ingersoll Coggeshall) [2 images]
• G. W. Dibert [1 image]
• W. A. Dietrich [4 images]
• Doran's Photographic Car [1 image]
• Dougherty (Mammoth wagon) [2 images]
• Dougherty & Cope (Mammoth wagon; J. L. Cope) [3 images]
• J. W. Fothergill's Mammoth Photograph Car [1 image]
• F. Z. Fritz [2 images]
• William R. Godkin [1 image]
• M. C. Goodell [4 images]
• William Griffin [2 images]
• Harry Gurlitz’s Photograph Car [1 image]
• W. H. Heiss [2 images]
• J. J. Hodge [2 images]
• J. M. Horning & Co. [2 images]
• Huested Bros. [1 image]
• Johnson & Sullivan’s Portable Railroad Gallery [1 image]
• King & Co.’s Traveling Gallery [1 image]
• George V. Knecht [5 images]
• Josiah Knecht [8 images]
• H. F. Knoderer & Bro. [1 image]
• C. L. Leonard [3 images]
• J. Loveridge [1 image]
• C. D. Luccock [1 image]
• J. H. McGowan (U.P.R.R. Photographic Car) [1 image]
• A. J. Miller [1 image]
• S. R. Miller's Photograph Car [2 images]
• William Nick [3 images]
• Nick & Knecht [2 images]
• E. W. Peirce (The Railroad Photograph Coach) [1 image]
• Lewis P. Peter [7 images]
• Peter & Kresge [1 image]
• Peters & Brother [1 image]
• F. B. Pine's Floating Photographic Studio, of the St. John's River, Fla. [1 image]
• S. Place [1 image]
• Portable Picture Palace [1 image]
• G. M. Primrose [2 images]
• W. H. Rector [4 images]
• C. S. Roshon (Mammoth Union photograph car) [1 image]
• J. B. Silvis (U.P.R.R. Photographic Car) [2 images]
• C. H. Sisson [1 image]
• C. M. Stark [1 image]
• N. L. Stone [1 image]
• A. Stoppel [1 image]
• Tucker & Powell [1 image]
• W. A. Vale [1 image]
• M. C. Vance [1 image]
• D. S. Von Nieda [1 image]
• Horace L. Webber [1 image]
• West & Lewis (Travelling photographers) [1 image]
• Whalen's Portable Art Gallery (Abel J. Whalen) [1 image]
• L. H. Whitson (Professor L. H. Whitson's Rail Road Photographic Car) [1 image]

• Bishop's Portable Photograph Gallery [1 image]
• J. Davidson [1 image]
• Doolittle & Humphrey's Tintype and Ferrotype Car [1 image]
• Dougherty & Cope (Mammoth wagon; J. L. Cope) [1 image]
• Douglass’ Traveling Car [2 images]
• Paul’s Mammoth Travelling Photograph and Ferro-type Car [1 image]
• W. H. Pearce (The Algonquian Bon Ton Tent) [1 image]
• E. B. Squier [2 images]
• A. D. Terhune [1 image]
• Williams & Dodge’s Photograph Cars [2 images]
• C. C. Williams [1 image]

• Antoinette Palace Railroad Photo Car (Studio Antoinette) [2 images]
• Blocker Palace Art Studio and Traveling Cottage Gallery [1 image]
• Erik Borklund [1 image]
• Boston and Albany R. R. Photo Car [2 images]
• W. A. Bradley [1 image]
• P. L. Britain (Palace R. R. Photo Car.) [1 image]
• Clark’s Portable Gallery [1 image]
• J. P. Coffey, Photo. Car. (J. N. Bayles) [1 image]
• A. Couturier [2 images]
• James H. Crockwell [1 image]
• Currier & Parkinson [1 image]
• J. W. Dalrymple [1 image]
• Drum Rail Road Photo Car (Oscar Drum) [1 image]
• Elite R. R. Photo Co. [1 image]
• Fallman Parlor Photo Car [3 images]
• F. M. Foster [1 image]
• Gibson & Myres, Traveling Photographers [1 image]
• F. L. Hale [2 images]
• F. J. Haynes [3 images]
• T. E. Hays [1 image]
• Howell (Prairie Queen Gallery - Temple, Tex.) [1 image]
• Hutchings Bros. Railroad Photo. Car [1 image]
• Hutchings Rail-Road Photo-Car [3 images]
• K. C. Photo Car [1 image]
• Keil & Matula, Traveling Photographers [1 image]
• Keystone Portable Gallery [1 image]
• Lyden & Bellinger [1 image]
• Malloy (20th Ave. No. & Wash. Minneapolis) [1 image]
• William H. McMillan [1 image]
• J. W. Merideth [1 image]
• S. R. Miller [3 images]
• National Art Company’s Railroad Palace Photographic Studio [1 image]
• Newton & Sprague Photo Car. [1 image]
• Nowack Bros. Floating Gallery [1 image]
• Pacific Photograph Car [4 images]
• Palace R.R. Photograph Studio [1 image]
• Lewis DeArcy Rollow (Rollow’s Art Car) [2 images]
• J. B. Shane [2 images]
• Showman & Joy’s Palace Cars [1 image]
• Smith Brothers [1 image]
• C. H. South [1 image]
• F. M. Steele [1 image]
• The K. C. Art Chariot [1 image]
• The Stuart Queen City Photo Co's. Great Australian Route, Car No. 12 [4 images]
• The Traveling Art Company [1 image]
• M. F. Timmerman (East Tenn. Photo Car) [1 image]
• Tooley & Grigsby (The Monarch Traveling Photographers) [1 image]
• Turner & Johnson [1 image]
• N. A. Watkins [1 image]
• Welsh & Harlow [1 image]
• West & Lewis (Travelling photographers)
• Whalen's "Accommodation" Photo. Car. (Abel J. Whalen) [2 images]
• H. C. Williams (Williams' Floating Gallery) [1 image]
• B. L. Wilson's Traveling Gallery [1 image]
• Wilson's Railroad Photo Car. (B. L. Wilson) [1 image]
• Winslow and Shobe [1 image]
• Wolfe & Peiffer (Keystone Traveling Photo Studio) [2 images]
• W. H. Yant [1 image]
• Young, Portrait Artist (Boston Portrait Car) [1 image]

• T. A. Aldrich [1 image]
• Coggeshall’s Excelsior Photographic Car (John Ingersoll Coggeshall) [2 images]
• Mrs. Emma A. Cooke's Traveling Photo. Pavillion (Emma A. Cooke and W. A. Cooke) [1 image]
• J. P. Doremus [1 image]
• H. H. H. Langill [1 image]
• Palace R. R. Photograph Car Co. [1 image]
• F. B. Pine's Floating Photographic Studio, of the St. John's River, Fla. [1 image]
• W. E. Warren's Portable Photograph House [2 images]

• J. A. Bellinger [1 image]
• Carson Bros. [1 image]
• Newton & Sprague Photo Car. [1 image]
• D. R. White [1 image]